INSTRUMENTS. Think through your "ensemble": what instruments will you employ to give your track a characteristic sound?
GarageBand has many attractive software instruments. You could use these exclusively.
Your workstation has a Korg X5D Synthesizer with many usable sounds. You can route the Audio Out Jack(s) from the Korg X5D to an Audio Track (Real Instrument Track) in GarageBand via your computer's Sound In jack or an Audio Interface.
Live Instrument Performance. Either you, someone else in the class, or an "artist" recruited from outside the class, may perform on your track. In the past, we have used PHS students and faculty with a variety of musical backgrounds (conventionally trained singers, tab guitar players, faculty jazz sax players, etc.). If you are a guitar player but you "hear" a piano part in your head (you envision a keyboard part), then find a keyboard player that can help you realize your vision. Work with the player, and be prepared to describe the sound you want.
NOTE: Using synth tracks FIRST has several advantages:
If you decide you want REAL players instead, ths SYNTH TEMP track gives them an idea of what you want.
If you run out of time and don't get around to recording real players, the synth temp track will do.
FORM. Think through these song writing devices and consider how they might work to create a satisfying setting for your song. I recommend you either sketch out a "LEAD SHEET" or at least write down a chart of the FORM with CHORDS (and lyrics if used). Examine the chord chart
ROUGH CHORD CHART
below used by a former student to help him organize what turned out to be a fine track.
Introduction (based on song motive or new material)
Verse (perhaps scored lightly at first, then more richly in later verses)
Refrain (will there be changes in orchestration when refrain begins?)
Bridge (contrasting material)
Re-transition (connects Bridge to next Verse)
Closing Material (“Outro”, usuall same material as Intro, winding down
FURTHER ITEMS. Other Song Elements to Consider as You Build Your Track
Instrumental Solo (either fixed or improvised)
Background Vocals (SATB choir, children’s choir, several female, etc.)
Use of “stop time” section (all but drums drop out)
Layering and the 100% Rule: May be applied to ANY section. For a great example of using LAYERING to support the FORM of a song (which happens to be a holiday song!), watch the YouTube video called Wind Waker Unplugged.
GET BUSY! Here are some suggestions for getting the job done. Note that many of these tasks have been "rehearsed" in previous activities and projects in the course.
1. Lay down one track at a time. Be sure to REHEARSE before recording. A run-through before recording can save you lots of time when tracking. If you do any REAL-TIME recording, use a repeating LOOP as a TEMP TRACK.
If you don't like the loop, take it out after recording.
Recording to a LOOP ensures works even better than a CLICK TRACK
2. Real, live drums can be recorded, but it is a VERY problematic proposition. Use loops and programmed drums as much as possible.
3. Build your song ONE SECTION AT A TIME. That is:
Set up appropriate loops to use as a temp track for the section or phrase
Either record a bass part for that section or phrase, OR use bass loops
Either record a keyboard and/or rhythm guitar part for the section or phrase, OR use keyboard and/or guitar loops
When you are satisfied, move on to the next section or phrase.
4. As much as is possible, CREATE ACCOMPANYING TRACKS BEFORE WORKING WITH GUEST TALENT and SOLOISTS: If you will be using a solo vocalists of instrumentalist, I recommend prepare all (or most) accompanying tracks FIRST, before working with the soloists. This way you can give your "talent" rough tracks to use in preparing for his/her tracking session (export your GarageBand file as an mp3).
6. As you assemble TRACKS, use your ear and employ as many features of the software as you desire, including:
Master Track - Especially useful for a fade and/or slowing down ("ritardando") near the end of your track.
Automating Track Volume - This is essentially the same as MIXING; it is how you adjust levels. Click "breakpoints" along the automation line, then drag them down or up to create "ramps"
Automate Pan Assignment
Add Digital Signal Processing effects, such as REVERB, COMPRESSION, EQ, and more.
7. Feedback
Ask a few classmates and/or your instructor to listen critically to your music as soon as you have completed a section or a first draft of the piece.
Don’t feel you have to incorporate each thing they share, but consider what they are hearing and why they are saying what they are saying.
TRACK LIST INFORMATION - Click here to fill out a form with your Track List Information.Your instructor will provide you with the deadline for submitting this. Obviously, be sure you have finalized/confirmed all participants in your track before you submit the information. If for some reason there is a change after you submit the track information, let the student producer and your instructor know immediately!
Holiday CD CREATING YOUR TRACK [Holiday CD HOME]
READ THIS DOC FIRST BEFORE PROCEEDING...this is an outline of what is expected.
TASK LISTS following consultation with instructor - CLICK HERE for items you need to do to carry out your project.
OTHER CONSIDERATIONS:
INSTRUMENTS. Think through your "ensemble": what instruments will you employ to give your track a characteristic sound?FORM. Think through these song writing devices and consider how they might work to create a satisfying setting for your song. I recommend you either sketch out a "LEAD SHEET" or at least write down a chart of the FORM with CHORDS (and lyrics if used). Examine the chord chart
FURTHER ITEMS. Other Song Elements to Consider as You Build Your Track
GET BUSY! Here are some suggestions for getting the job done. Note that many of these tasks have been "rehearsed" in previous activities and projects in the course.
1. Lay down one track at a time. Be sure to REHEARSE before recording. A run-through before recording can save you lots of time when tracking. If you do any REAL-TIME recording, use a repeating LOOP as a TEMP TRACK.2. Real, live drums can be recorded, but it is a VERY problematic proposition. Use loops and programmed drums as much as possible.
3. Build your song ONE SECTION AT A TIME. That is:
4. As much as is possible, CREATE ACCOMPANYING TRACKS BEFORE WORKING WITH GUEST TALENT and SOLOISTS: If you will be using a solo vocalists of instrumentalist, I recommend prepare all (or most) accompanying tracks FIRST, before working with the soloists. This way you can give your "talent" rough tracks to use in preparing for his/her tracking session (export your GarageBand file as an mp3).
5. For LIVE, REAL INSTRUMENT or VOICE recording, you might want to enlist the help of a classmate to serve as RECORDING ENGINEER. Either way, you will have to think about what microphone or interface scheme you want to use. You will need to schedule a "tracing session" to be sure the equipment and Music Tech Lab is available. Click here to jump to our page with information on various schemes for recording a signal (USB Mic, Audio Interface, Hand Held Recorder, etc.).
6. As you assemble TRACKS, use your ear and employ as many features of the software as you desire, including:
7. Feedback
TRACK LIST INFORMATION - Click here to fill out a form with your Track List Information. Your instructor will provide you with the deadline for submitting this. Obviously, be sure you have finalized/confirmed all participants in your track before you submit the information. If for some reason there is a change after you submit the track information, let the student producer and your instructor know immediately!
Holiday CD Track grading rubric